New York, USA
Medium format fine art aerial photography
FUJIFILM GFX 50S Camera, FUJINON GF32-64mmF4 R LM WR Lens
Fine art photographer Dinesh Boaz has opted for the open door of a helicopter rather than a photography studio. Dinesh’s distinctive aerial images are rich in pattern, rhythm, and repetition – three things that have interested him since his days as a music producer in NYC. Read on to find out what goes on behind the scenes of fine art aerial photography.
"This image was shot over the Kaneohe Sandbar in Oahu, Hawaii. On the approach to the North Shore, we came across Kaneohe Sand Bar. It’s located about a quarter mile from the Oahu shore. A rain storm from the day before had created some unusual colors between the sand and the ocean. We circled several times, trying different heights and angles. The top-down view was achieved by banking the helicopter and timing the turn with the pilot."
"As we approached Lanikai Beach in Oahu, I started looking for a wide-frame shot of the beach and its crystal blue waters. The added element of the rocks and coral below the water added an extra something. As we hovered and banked to get a straight-down look, I worked to keep the shutter speed high and the aperture narrow, to grab all the sharpness I could right across the image. We tried several passes around the beach, but this was my favorite image. It really captures the depth and the color of Lanikai Beach."
"I captured an image high above the Na Pali Coast in Kauai, using the Velvia Film Simulation mode and a small aperture. I was able to capture a lot of subtle lights and shadows across the mountain. I would normally use the Burst mode on the GFX 50S, but for this shot I took my time and shot slowly. The epic surroundings were incredible to see, and the view through the viewfinder made them seem all the more surreal, somehow."
"The conditions were windy as we approached the Na Pali Coast in Kauai, but the colors were stunning. These cliffs reminded me of giant animal paws. As we went over the mountains, I knew I’d get a better shot if I asked the pilot to go further out over the ocean. Sure enough, this opened up a wider range of photogenic angles, with the sunlight illuminating the colors on the side of the mountain. I flipped between Velvia and PROVIA Film Simulation modes on the GFX 50S, and I saw really good results with both."
"We didn’t have much time over Hanauma Bay. We could only make a few passes without disturbing the peace of the bay. As we approached, I shot a bunch of different angles, and straight-downs over the water. The bay’s opening brought out the color and beauty of the Hanauma reef, while the horizon behind it added perspective."
"Originally, I wanted to shoot a top-down over the Na Pali Coast, but our elevation was too high – we were already at over 2,000 feet and climbing. I ended up shooting this image while passing the side of Na Pali when I noticed a small beach with a wave break – one of the few on the shoreline. I zoomed in and focused on the water but the GFX 50S still managed to capture the details and subtleties of the mountains."
"We came across the Dole Plantation in Oahu on the flight back to Honolulu from the North Shore. I first spotted the patterns and lines from the air, but then saw this truck with some farmers working alongside. I tried to include the truck in the image to show some action while centering my composition on the rows of pineapples below. After a series of turns and banks, I got the straight-down view that I wanted and several frames that worked well for me."
"The Five Sisters Falls is a truly magical location. We came across so many lush colors and I was able to capture a shot of the five separate waterfalls mixing into each other. We were tight on time, due to air traffic from tours in the area, so I opted to keep the angle simple, capturing a wide perspective of the area. I used a very fast shutter speed to freeze the water, and the Velvia Film Simulation mode to bring out blues and greens."
"The Mount Waiʻaleʻale crater in Kauai is one of the wettest places in the world and is unlike anything I’ve ever seen. It was shrouded in mist and fog, and I was looking hard for ways to get an interesting shot that showed the depth of the crater. There wasn’t much room to maneuver, so I tried to capture what I could as we moved through. I pointed the GFX 50S out of the helicopter, aimed backwards, and shot a burst of images. I got lucky! It’s a good example of how well the GFX 50S performs in low-light conditions, delivering great depth of color.”
Dinesh Boaz is a FUJIFILM-compensated professional photographer.
To see more of Dinesh's photography, visit his website